Dialogue Continued
Faye-Ellen1 Silverman
About this work:
“Dialogue Continued”, for horn, trombone, and tuba, began as a continuation of “Dialogue” (a horn – tuba duet) written from the perspective of nearly a quarter of a century later in time. This new work is in five short movements. The first and third movements are moderate in tempo (choosing the same tempo as the second movement of the original “Dialogue”), the second and fourth slow. The fifth movement, the longest of the work, moves from a slow introduction to a fast main movement. The note “B” seemed a natural tonal center, as the work is for brass instruments, two of the three players premiering this work have last names beginning with B, and this pitch began and ended the original “Dialogue”. The pitch “A” represents the first name of the third player. The wide variety of ranges and tone colors that are available from these three instruments – from close-knit ensembles to extreme ranges - has been exploited in creating this work.
The first movement, an invitation to the other two players issued by the tuba, came from an idea that occurred to this composer this summer while in Rome. As the tuba began the original “Dialogue”, it seemed appropriate for the tuba also to initiate this work. Since the first movement made use of the three instruments often playing one at a time, the second movement contrasts by using the instruments to play together in a chorale-like setting. The third movement combines ensemble playing with melodies which pass from instrument to instrument, with a mini-trombone cadenza about three quarters of the way through. The fourth movement has simple statements of a single melody. This melody is first stated in the horn. The melody then moves to the trombone, with the horn providing counterpoint. Part of the melody is then stated chorale-like by all three instruments. The last movement begins with a slow introduction, with all three instruments stating notes in the same range (although not necessarily at the same time). Then each instrument is given a turn at virtuoso playing (another characteristic of the original “Dialogue”, as is the tuba “mini-cadenza” near the end.) The work ends by re-enforcing the note B - the tonic note of the work.
This work –my first composition of the 21st century – was commissioned by Susan Slaughter for members of the Monarch Brass Quintet’s performance at the National Museum of Women in the Arts.
Year composed: 2000
Duration: 00:09:30
Ensemble type: Chamber or Jazz Ensemble, Without Voice:Other Combinations, 2-5 players
Instrumentation: 1 Horn in F, 1 Trombone, 1 Tuba